Close Up (Oct 1920 - Sep 1923)

12 JUST BETWEEN OURSELVE ^iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiniiii^ 1 Marshall Lorimer ««TI A6F.I ID*' 1 § Editor and Prop. XLU3C j s The Magazine of Movie Land = g Issued the 5th and 20th of Each Month g Editorial and Business Office: g % 603 Western Mutual Life Bldg., (formerly Exchange Bldg.) g 321 West Third Street. Telephone 820-609. ■ | SUBSCRIPTION RATE: ONE YEAR TWO DOLLARS j g Advertising Rates on Contract Basis ^ g Checks Should Be Made Payable to “Close-Up” = All manuscripts and Contributions Should be Addressed to the Editor s ^IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIHIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII^ UNIVERSAL PICK-UPS Virginia Valli was signed by Universal for a long period because her popularity as a featured leading woman could no longer be ignored. * * * Herbert Rawlinson is starring at Universal City in stories of dramatic strength, directed by featured directors and supported by players of prominence. * * * Hoot Gibson is quickly taking his place as the most popular western star of the screen. Because he doesn’t rely alone upon riding and gun play, but is rather an actor of proven ability and with an agreeably boyish personality, his rise has been rapid and uninterrupted. * * * Roy Stewart, following one of the epochal performances of serial history in Universal’s “The Radio King,” is starring again at Universal City — or, in actual location, in timber country north of there, in a series of two-reel lumberjack romances written by a staff of writers under Robert Dillon’s supervision and directed by Robert Hill. * * * William Desmond has just completed “Perils of the Yukon,” a chapter history of Alaska from earliest days. * * * Neely Edwards and Lew Sargent, widely differing comedians, the latter the boy wonder of “Huck Finn” fame and “Just Around the Corner,” are starring in comedies under the direction, respectively, of William Watson and Scott Darling. * * * Among the leading women to be found at the studio where Universal features are being made may be named Priscilla Dean, Colleen Moore, Lillian Rich, Barbara Bedford, Helen Ferguson, Gertrude Olmsted, Mary Philbin, Louise Lorraine and others. * * * Jack Mulhall and Louise Lorraine are cutting an awful swath through San Francisco. When Jack Mulhall rode down Market street on a horse the town passed out. Jack Mulhall is the star and Louise Lorraine the leading woman of “Tales of the Fish Patrol,” Jack London’s stories of deep and dark blue water, which are being filmed by Universal. Edward Kull is the director. * * * Sidney Bracy, whose screen roles have ranged from bits in one-reel comedies to important parts in superfeatures, and who just recently completed the “heavy” characterization in “The Radio King,” Universal’s scientific serial starring Roy Stewart, is playing a principal role in support of Herbert Rawlinson in “One Wonderful Night.” Bracy was chosen by von Stroheim, that ever-alert type judge, for one of the central roles of “Merry Go Round,” the forthcoming Universal super-jewel effort. * * * The cast of the current Hoot Gibson film version at Universal City is a list of names worthy of any western feature of any length. Nat Ross is directing Gibson in “Ridin’ Wild,” a story written and scenarized for the star by Roy Myers. Edna Murphy’s attractive personality adds charm to the role opposite the star, while Wilton Taylor, Otto Hoffman, Wade Boteler, William Welsh, Burton Wilson and Jack Walters handle other principal roles. Edna Murphy has played the feminine leads in many recent Universal pictures, among them Herbert Rawlinson’s success of the day, “Don’t Shoot.” LYNWOOD CRYSTAL RAPP Child Actress Gladys Walton finished “The Lavender Bath Lady” and chose the cool waters of the Pacific and the quiet of Catalina for her vacation after an extremely difficult role. King Baggot directed this Shannon Fife story from a George Randolph Chester continuity. Helene Chadwick, one of the most favored of screen favorites, was deeply concerned over the erroneous report of her being sun-struck on an Arizona desert while enacting the leading feminine role in “Border Patrol” for the Morosco-Hawks company recently. Newspapers throughout the world published the story under startling headlines and as a consequence her Hollywood home was deluged with a veritable flood of telegrams from anxious admirers. A mixup of names at a Phoenix hosptial was the cause of the false rumor. After pondering at length over the whole incident, Miss Chadwick came to the unusual conclusion that “it was probably because striking is such a fad just now that they had me struck, too.” Gertrude Astor, Earle Williams’ leading lady, has come forward as a stout defender of movie serials. Although she is permanently through with this class of picture after starring in a half dozen of them, she declares the chapter play serves a good and laudable purpose in the amusement world and she resents any aspersions cast upon it. “Movie serials are as fixed as breakfast cereals,” she asserts, which, of course, might mean that some serials, like some cereals, are fixed better than others!